First reactions from Great Britain on Alexi Lubimov's and Natalia Pschenitschnikova's recordings of music by John Cage on As It Is

Between the songs come some of the early piano and prepared piano pieces, often, like Meditation and the Unavailable Memory Of, composed for dances by Cage’s partner, Merce Cunningham. But what emerges most forcefully is the precision of Cage’s aural imagination. Nothing is generalised, and the performances of Lubimov and Pschenitschnikova take immense care over every nuance, without ever sacrificing any of the sense of the music’s shape.Andrew Clements, The Guardian

The flood of releases marking Cage’s centenary continues with this excellent selection of early works played by pianist Alexei Lubimov and singer Natalia Pschenitschnikova, who have been performing his music since the time it outraged the Russian establishment in the ‘60s and ‘70s. [...] The standout track, though, is “Dream” from 1948, a solo piano piece which follows no overt narrative progression but drifts from note to note without ever sounding wilful or wrong.Andy Gill, The Independent

Swedish daily Dagbladet on Kim Kashkashian's Music For Viola with compositions by György Kurtág and György Ligeti

The variety in ensemble and timbre generates plenty of colour and contrast between the pieces, and while all of them have a familial similarity they are all different, and the inventive approach brought to them is truly inspiring.Dominy Clements, Music Web International

English critic Peter Bacon on Arild Andersen's and the Scottish National Jazz Orchestra's Celebration of music from the ECM catalogue

I was intrigued and a little concerned at the outset to hear how the delicacy of much ECM music might translate into the bold power of the SNJO. Any fears were quickly allayed – this is, of course, a group of musicians as adept at being the quietly sensitive jazz orchestra as they are at being the swaggering big band. And, of course, Andersen is such an eloquent soloist, a winning combination of sensitivity and swagger himself.Peter Bacon, The Jazz Breakfast